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Our Sheet Music database is very searchable using any or all of the following - Composer name, Title, Musical standard, Exam board and Grade of piece both that of the exam boards and also our own Stafford Guitar grading.

Our aim is to not only bring you the up to date exam syllabus but also a selection of music we have enjoyed over our years of playing. The Stafford Guitar grading is to help you when selecting new pieces to learn.

In addition you will find Selina’s review of a piece or book helpful and again these reviews are carried out to help with your choice.

We are also happy to obtain music that we currently do not stock so if there is a book or piece you would like call and we will attempt to find it for you.

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Sheet Music Database

Music Theory in Practice, Grade 4

ABRSM

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The Music Theory in Practice series has helped more than one million musicians worldwide to learn about the notation and theory of music. Now fully revised, this workbook remains the best way to prepare for the Associated Board's Grade 4 Theory of Music Exam, offering: a clear explanation of music notation, straightforward language throughout, many worked examples and practice exercises, definitions of important words and concepts, specimen exam questions, helpful tips for students As well as supporting the ABRSM theory syllabus, this workbook also provides an excellent resource for anyone wishing to develop general music literacy skills.

Music Theory in Practice, Grade 5

ABRSM

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The Music Theory in Practice series has helped more than one million musicians worldwide to learn about the notation and theory of music. Now fully revised, this workbook remains the best way to prepare for the Associated Board's Grade 5 Theory of Music Exam, offering: a clear explanation of music notation, straightforward language throughout' many worked examples and practice exercises' definitions of important words and concepts' specimen exam questions, helpful tips for students As well as supporting the ABRSM theory syllabus, this workbook also provides an excellent resource for anyone wishing to develop general music literacy skills.

Music Theory in Practice, Grade 6

ABRSM

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Covers all aspects of the Grade 6 Theory of Music examination. Deals with the realisation of figured basses for keyboard and for voices in four parts, harmonisation of tonal melodies and melodic composition, both tonal and in more modern styles. Covers both pre-20th-century and 20th-century styles, builds on work covered in the first five volumes of Music Theory in Practice, looking further into the workings of tonal harmony and introducing students to melodic composition outside the tonal system

Music Theory in Practice, Grade 7

ABRSM

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Covers all aspects of the Grade 7 Theory of Music examination. Deals with harmonic vocabulary, dissonance treatment and part-writing in Baroque music, and melodic composition. Text includes worked examples of some typical examination questions, and a set of exercises is provided for each kind of question. Covers both pre-20th-century and 20th-century styles.

Music Theory in Practice, Grade 8

ABRSM

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Covers all aspects of the Grade 8 Theory of Music examination. Gives detailed advice on ways in which the examination questions might be approached. Text includes worked examples of some typical examination questions, and a set of exercises is provided for each kind of question. Covers both pre-20th-century and 20th-century styles.

Musica Del Re Sole

Musica Para Guitarra

Federico Moreno Torroba

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This album presents some of the best examples of the Madrid born composers prolific output that spanned his long career. While his most celebrated work is 'Madronos', all pieces in this album are testimony to the fact that his inspiration is rooted in popular music, to which he adds a vocal style of melodic invention which reminds of his love of vocal music.

Nuevos Estudios Sencillos.

A group of studies covering various techniques such as arpeggio, staccato, legato, afro-cuban rhythmic patterns, tremolos, partial barre, this is an essential book for the committed student.

Skill Level

Beginner

Intermediate

I have always been a fan of Leo Brouwer’s music and so was immediately drawn in to these studies with their great use of the guitar and "natural" technique that compliments rather than fights the music!

Like Brouwer’s "Simple Studies", they provide varied technical and musical skills as well as training the ear to the more unusual sounds and dissonances of modern music which is very important in the development of the young (and not so young!) budding guitarist.

At the same time Brouwer manages to keep the music very lyrical, linking each study to a composer (homage to…) which heightens interest!

My only worry is the statement in the notes for study number one that the collection is for beginners or children. I think that these pieces would be of benefit to, and enjoyed by players of any age, but possibly suited to those with a bit more experience since the notation, rhythms and voicing is quite tricky in places.

I would place them at a grade 3 to 5 level, possibly 6 if all the tempo and articulation markings are kept to (for our database beginner/ intermediate)

Each study has written notes which clearly explain what is required and what to focus on.

The music requires clear dynamic control, careful articulation even between voices, pinpointing melody within arpeggios, legato phrasing and syncopated rhythms. There is simply loads to work on in each piece!

My favourites are Tarrega (no. 5) with its minimalist style, tremolo development and strong echoes of Brouwer’s Decameron Negro; Prokoviev (no. 4), which has an excellent, rhythmical bass melody; the lovely harmonies and chord melody in Villa Lobos (no. 8) and the beautiful simplicity of Szymanowski (no. 9).

Overall, this collection of pieces would be of great benefit to players of all standards and I particularly like the link to composers that will hopefully encourage young people to explore different kinds of music. Importantly the strongest element of "study" here is musical – excellent!

Ode to the Guitar

Stephen Dodgson

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Stephen Dodgson was educated at the Royal College of Music, where he later taught theory and composition. His guitar music has gained recognition, despite the fact that he does not play the instrument himself. His remarkable grasp of the instrument’s capabilities in a distinctly non-Spanish idiom deserves to be heard more widely. John Williams premiered many of his guitar works, including the first Partita and the first guitar concerto.

Skill Level

Intermediate

Advanced

This book is “A Sequence of 10 Miniatures’ written by a composer with a great pedigree in writing original and ‘far reaching’ music for the classical guitar.

By that I mean that the music stretches our technical abilities and musical ideas and has been very important in the development of the guitar repertoire in the 20th century.

In his preface Dodgson describes his collaboration with Hector Quine in writing a series of technical studies to complement a rapidly expanding guitar repertoire. After 20 years there was a pause in writing and although many aspects of technique had been explored Dodgson felt that there was one vital element missing – the expressive requirement. In this volume he set out to provide ”a strongly coloured miniature which will encourage the right hand to give voice to a full range of expression”

I think that he has achieved his aim with these miniatures and has gone beyond that in introducing guitarists to a truly contemporary style and new musical language, developing reading and interpretation skills as well as musical imagination.

The old excuse of “I can’t learn the piece because I don’t know the tune!” doesn’t work with these pieces.

The titles are very important, supplemented by ‘character’ and ‘feeling’ words in place of traditional tempo markings or expressions; for example ‘brisk and impish ‘,’radiant and sustained’ and ’menacing and intense’, which send direct messages to the fingers before you have even listened to the music!

There is of course a level of technique needed to get the most from this music, but I think that it also helps to develop this from the angle of tone colour, texture, spirit and story telling. The ability to listen and use your imagination is very important throughout the learning process, as is a strong rhythmical feel. A lot of the harmony is dissonant and unusual but there are also plenty of recognizable features to help you to develop an understanding of the style. The pieces use the whole range of the guitar in a very free flowing manner and even though the positions and shapes may be unfamiliar the music is very well written for the guitar both technically and musically. Fingering is used sparingly encouraging the player to explore.

Ode to the Guitar - arpeggio figures punctuating slow melodic lines;

Ragged Robin (grade 6) – clever use of the left hand around the fretboard giving the cheeky and impish character required, with small motifs linking and giving direction;

Rainbow – constant flowing semiquavers where the player needs to listen to the harmony for shape and direction. It is particularly important to read the musical instruction here;

Ghost Story (grade 7) – the melody and harmony are very contemporary with the melodic intervals and dissonances giving it the sinister and menacing feel;

Drowsy Head – clear melody and direction with fingering patterns and a great mental picture to follow!

O Pussy my love – a serenade feel and ideal pulsing accompaniment with a stretched rhythm to challenge you and detailed and tricky left hand work;

Call, and I follow – lively and tricky requiring a light touch and good counting!

Sirins (grade 6) – one of my favorites with clever use of subtly changing harmonies and lilting pulse;

Hornets Nest (grade 8) – great fun with detailed left hand work cleverly under the fingers even if they have to move to get there!

Villanelle – rustic with great spirit in the rhythm, range and lovely bass melodies.

To conclude, these pieces really are small windows onto emotional feelings and characters and as Dodgson says of the benefits of learning; “an awakened imagination is the spark; the reward, a tiny concert piece that sounds like one.”

Leo Brouwer has always been one of my favourite composers. His music sits naturally on the guitar and flows smoothly from your fingers developing technique and musicianship in the process. There is loads of variety in his compositional style with challenging, contemporary works contrasting with traditional and nationalistic styles.

Leo Brouwer Guitar Works published by Eschig is a fantastic resource for guitarists and provides excellent material for helping to focus practice. It includes the 4 volumes of “Etudes Simples” (which alone make it a worthwhile purchase!), “Dos Aires populaires cubanos”, “Dos Temas populaires cubanos”, “Danza del Altiplano”, “Pieza sin titulo” nos. 1,2 and 3, “Preludio”, “Fuga”, “Parabola”, “Tarantos” and three cadences on pieces by Haydn, Giuliani and Sor.

The book starts with a comprehensive introduction, the first subtitle of which is “The birth and development of a vocation”. It outlines Leo Brouwers life, education, influence and development as a guitarist and composer. This is an interesting read to help gain an insight into his music. It describes his central role on the Cuban musical scene and how he was part of the birth of the avant-guard movement in the 1960s, managing to combine these ideals with the traditional music of Latin America, for example his use of the ‘cinquillo’ (five note cell) or the ‘tresillo’ (three note cell) in “Pieza sin titulo no.1” and “Study no.5”, rhythms from the Yoruba culture imported into Cuba by Nigerian slaves.

The contrasts in this collection of pieces offer the guitarist huge challenges in musicianship and interpretation, introducing inexperienced ears to new and exciting sounds in a “friendly” way, in other words contemporary music that is accessible to all!

When I was a young guitarist the Simple Studies were in my “learning” repertoire for their technical benefits, contemporary style and strong presence in the exam syllabus!

Between then and now an awful lot more didactic music has been written for guitar in many styles and some of the “older” repertoire has been, to put it bluntly, sidelined. These studies are now returning to the exam repertoire, and, revisiting them recently, I rediscovered how great they are!! They cover a wide range of techniques for both hands with a very strong emphasis on musicianship and quality and variety of tone, for example bass melody is highlighted in nos. 1 and 4 and no. 2 concentrates on chord voicing and control. No. 6 is obviously developing right hand arpeggio technique with subtly changing patterns but also encourages the player to listen to and shape the long musical phrases. Dynamic control and articulation are important throughout. Combined with the strong, often driving, and ‘funky’ rhythms, this musical shaping makes the contemporary style very lyrical and the dissonance fun and attractive to listen to.

The 3rd and 4th ‘books’ have stated goals and are more substantial as pieces. No. 11 for example has 2 completely contrasted sections and requires some very nifty fingering and position changing – brilliant for the left hand and ‘dot less geography’! Like 11, no. 13 is “for slurs and finding/ fixing positions”, but also contains uneven rhythms, unusual sounds and improves left hand finger independence. 16 to 18 work on ornaments mostly written out so you are ‘encouraged’ to learn how to count them, and they are beautiful, lyrical pieces. 19 and 20 concentrate on 4 note chords and introduce the idea of the graphic score by using motifs in boxes.

‘Dos Aires Populares Cubanos’, ‘Dos Temas Populaires Cubanos’ and ‘Danza Del Altiplano’, as their titles suggest, all use folklore tradition as a base from which Brouwer redevelops and extends the original melodies with his own unique style which highlights, for example, the ‘guajira’ and ‘zapateado’ while adding so much colour and texture in harmony and rhythm.

Much of the rest of this book is dedicated to more contemporary and avant guard music. There are familiarities in form and name in the Preludio and the Fuga no.1 which helps, and for me the experience of the first part of the book further helped me to approach the three ‘Pieza sin Titulo’ with some understanding of his writing and so more confidence to listen and explore.

Parabola and Tarantos and the most difficult to approach for players inexperienced in contemporary music. Parabola has a page explaining the way it is written, no time signature or bar lines and in many cases notes that are not even beamed together! There are however a lot of musical directions and familiar words and, if you are willing to have a go, great satisfaction in ‘finding’ the piece through careful listening and construction. This exploration of tone colour as well as the many instrumental effects here are fundamental to what Brouwers compositions have brought to the guitar. Tarantos has a graphic first section where motifs are in boxes to be used by the player in a kind of guided improvisation highlighting the original improvised character of the melancholy Andalusian song upon which the piece is based. Harmonic/ rhythmic sections (expositions) alternate with melodic variations (falsetas) giving you a real sense of where the music has come from however strange and modern it may seem at first.

This sort of writing does of course introduce the classical guitarist to the idea of greater freedom in music and interpretation, something that helps us with all of our playing and technique.

The three final cadenzas were written in Brouwers avant guard years but show a completely different side of his music that recognizes the Classical style and the technical demands therein that are so vital to the guitarist. They provide excellent workouts and are great fun to play, especially if you make yourself familiar with the pieces that they attach to!

I think that this volume is a difficult one to ignore and contains music, especially the simple studies, that every guitarist should be at least familiar with. The technical and musical challenges are too many to let slip through your fingers, and there is probably something to help with most sticky situations that you find yourself in with other repertoire. The ideas help you to focus your practice, both musical and technical, and so can easily be used to help to structure your overall practice and improve your sense of direction. The music also covers a wide range of standards, in grade language, from about 3 to post grade 8 so it truly is a book for life.

Learning to interpret the contemporary sounds and harmonies in these pieces is, perhaps, one of the biggest benefits and will open a whole load of doors and opportunities that you may not yet have considered. It is easier to learn tunes that we know in styles that we are familiar with – easy to sing, easy to hear, easy to listen to – but are we really challenging ourselves enough?

I am sure that once you start to play this music, to listen and explore the new sounds, you will quickly become hooked! I have certainly never looked back.

One + One Volume 1 (Pupils Part)

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The three volumes of One + One contain arrangements of music from the renaissance, baroque, classical and romantic periods as well as folk-song settings and new compositions written specially for the EGTA Series. New compositions, even though they don’t apply to the exam list repertoire, are included, in order to maximise the books’ general value to the player and to show how this approach can work for all types of music.

Skill Level

Beginner

These volumes of duets were conceived and put together through the efforts of EGTA, the European Guitar Teachers Association, and are designed to help students develop their musicianship, co ordination, tone and articulation without the excessive physical demands that the chordal and contrapuntal repertoire can impose, particularly on the left hand.

The pieces were the first duets to be used in the ABRSM guitar syllabus, a change in approach that has been invaluable for encouraging students and introducing them to repertoire that would have previously been inaccessible until much later. Of course, it also promotes ensemble playing and all the rhythmical, musical and “communication” benefits that this brings, as well as being so much fun!

There is a comprehensive preface to each volume, which is important to read as it outlines the ideals in general as well as the technical demands and thoughts about fingering, positions and musical indications. It is great that fingering has been kept to a minimum and the preface makes it clear that the fingerings that have been added are just suggestions based on achieving the best musical result.

There is a wide variety of repertoire represented from the Renaissance to the present day, including arrangements of music by Dowland, Purcell, Haydn, Schubert, Mozart, Grieg and Tchaikovsky, as well as original, contemporary guitar pieces. I was a little disappointed not to find any arrangements from the guitar solo repertoire, since there is so much to choose from that would provide an insight into the world of the classical guitar – in other words all the exciting things to come!

All the student parts are single line melodies across the two volumes.

Volume 1 stays in first position, with pieces tending to use the bass or treble voices so working on the separate articulation of fingers and thumb. The arrangements are very well done with a lot of emphasis on ensemble skills i.e. counting and listening, and a good mix of popular and unknown melodies.

In volume 2 fingers and thumb are combined within pieces and left hand positions range from first to fourth. In both books there are some challenging rhythms and time signatures with the articulation and musical indications getting more detailed in volume 2.

There are also some quite unusual and tricky accompaniments in these arrangements, which is worth noting for teachers!

I have to admit to finding some of the modern melodies a little “dry” and more difficult to follow (for young ears) especially when being played without accompaniment. However, overall, there are plenty of lovely tunes, lots of invaluable ensemble experience and counting practice and a strong emphasis on the importance of melody and phrasing.

Grade 1 (volume 1)

Riggadoon: a lively, straightforward melody using the treble strings.

German Dance: another energetic piece in ¾ time using a dotted crotchet rhythm and some accents.

Theme from Rosamunde: this is a flowing, Andante melody, with some longer quaver passages.

Grade 2 (volume 2)

Minuet: this piece is in F major, has some detailed phrasing indications and uses 2nd and 3rd positions.

A Fairy Tale: the phrasing is detailed again here with a strong, rhythmical, flowing melody and quite a lot of accidentals!

Slavonic Waltz: this piece is marked con moto and has a clear character with a contrasting second section and change of key signature.

Grade 3 (volume 2)

Musette en Rondeau: this is a lovely dance in ¾ with long quaver passages in treble and bass voices.

Sweet Reveries: marked Andante, this piece requires long legato phrasing with detailed dynamic control. A dotted quaver rhythm is used throughout and the left hand plays up to the 7th fret.

One + One Volume 1 (Teachers Part)

Chanterelle

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The three volumes of One + One contain arrangements of music from the renaissance, baroque, classical and romantic periods as well as folk-song settings and new compositions written specially for the EGTA Series. New compositions, even though they don’t apply to the exam list repertoire, are included, in order to maximise the books’ general value to the player and to show how this approach can work for all types of music.

One + One Volume 2 (Pupils Part)

Chanterelle

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The three volumes of One + One contain arrangements of music from the renaissance, baroque, classical and romantic periods as well as folk-song settings and new compositions written specially for the EGTA Series. New compositions, even though they don’t apply to the exam list repertoire, are included, in order to maximise the books’ general value to the player and to show how this approach can work for all types of music.

Skill Level

Beginner

These volumes of duets were conceived and put together through the efforts of EGTA, the European Guitar Teachers Association, and are designed to help students develop their musicianship, co ordination, tone and articulation without the excessive physical demands that the chordal and contrapuntal repertoire can impose, particularly on the left hand.

The pieces were the first duets to be used in the ABRSM guitar syllabus, a change in approach that has been invaluable for encouraging students and introducing them to repertoire that would have previously been inaccessible until much later. Of course, it also promotes ensemble playing and all the rhythmical, musical and “communication” benefits that this brings, as well as being so much fun!

There is a comprehensive preface to each volume, which is important to read as it outlines the ideals in general as well as the technical demands and thoughts about fingering, positions and musical indications. It is great that fingering has been kept to a minimum and the preface makes it clear that the fingerings that have been added are just suggestions based on achieving the best musical result.

There is a wide variety of repertoire represented from the Renaissance to the present day, including arrangements of music by Dowland, Purcell, Haydn, Schubert, Mozart, Grieg and Tchaikovsky, as well as original, contemporary guitar pieces. I was a little disappointed not to find any arrangements from the guitar solo repertoire, since there is so much to choose from that would provide an insight into the world of the classical guitar – in other words all the exciting things to come!

All the student parts are single line melodies across the two volumes.

Volume 1 stays in first position, with pieces tending to use the bass or treble voices so working on the separate articulation of fingers and thumb. The arrangements are very well done with a lot of emphasis on ensemble skills i.e. counting and listening, and a good mix of popular and unknown melodies.

In volume 2 fingers and thumb are combined within pieces and left hand positions range from first to fourth. In both books there are some challenging rhythms and time signatures with the articulation and musical indications getting more detailed in volume 2.

There are also some quite unusual and tricky accompaniments in these arrangements, which is worth noting for teachers!

I have to admit to finding some of the modern melodies a little “dry” and more difficult to follow (for young ears) especially when being played without accompaniment. However, overall, there are plenty of lovely tunes, lots of invaluable ensemble experience and counting practice and a strong emphasis on the importance of melody and phrasing.

Grade 1 (volume 1)

Riggadoon: a lively, straightforward melody using the treble strings.

German Dance: another energetic piece in ¾ time using a dotted crotchet rhythm and some accents.

Theme from Rosamunde: this is a flowing, Andante melody, with some longer quaver passages.

Grade 2 (volume 2)

Minuet: this piece is in F major, has some detailed phrasing indications and uses 2nd and 3rd positions.

A Fairy Tale: the phrasing is detailed again here with a strong, rhythmical, flowing melody and quite a lot of accidentals!

Slavonic Waltz: this piece is marked con moto and has a clear character with a contrasting second section and change of key signature.

Grade 3 (volume 2)

Musette en Rondeau: this is a lovely dance in ¾ with long quaver passages in treble and bass voices.

Sweet Reveries: marked Andante, this piece requires long legato phrasing with detailed dynamic control. A dotted quaver rhythm is used throughout and the left hand plays up to the 7th fret.

One + One Volume 2 (Teachers Part)

Chanterelle

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The three volumes of One + One contain arrangements of music from the renaissance, baroque, classical and romantic periods as well as folk-song settings and new compositions written specially for the EGTA Series. New compositions, even though they don’t apply to the exam list repertoire, are included, in order to maximise the books’ general value to the player and to show how this approach can work for all types of music.

Paisaje cubano con tristeza

Leo Brouwer

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Paisaje Cubano con Tristeza (1996) is part of a group of compositions that evoke impressions on aspects of the Cuban landscape. The other pieces in this series are the Cuban Landscape with Rain and the Cuban Landscape with Rumba, both for guitar quartet, as well as Paisaje Cubano con Campanas for solo guitar. These works incorporate the sounds of minimalism more prominently than in Brouwer’s other pieces for guitar, using repetition as a musical basis. Paisaje Cubano con Tristeza, as its title implies (Cuban landscape with sadness), is different for its overt lyricism as opposed to the rhythmically insistent qualities of its predecessors.

Pieces Caracteristiques

Federico Moreno Torroba

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This music is romantic and colourful, evocative not only of Spain and its scenery and music, but also of the traditions of the classical guitar and the music that I grew up listening to and striving to play. Andres Segovia Edition Volume 2 GA 134 includes the pieces entitled, Los Mayos, Albada and Panorama.

Skill Level

Advanced

This music is romantic and colourful, evocative not only of Spain and its scenery and music, but also of the traditions of the classical guitar and the music that I grew up listening to and striving to play. As such it is a part of the repertoire that is often overlooked as our musical tastes change but that can teach us a lot about what our instrument can achieve.

There are three pieces offering contrast in character but strong links in melody that means they work beautifully together. The music is full of strong treble and bass melodies, driving rhythms, exciting harmonies and lots of opportunity for contrasts in articulation and tone. Techniques include fast articulation, control of long slurred passages and fluid movement around the fingerboard.

Los Mayos is strong and bright with an uplifting theme that is used throughout, driving the music forward, lots of chord movement, and some lovely ‘clashy’ harmonies. It is marked Allegro no tanto – quick and cheerful but not too much!

Albada has a great, quirky and quite angular returning theme that contrasts with some lovely tenor melodies on the 4th and 5th strings and a gorgeous tune in the relative minor with a warm syncopated accompaniment. Again the Allegro marking is tempered, this time with gracioso, highlighting character as apposed to straight speed.

The final piece is Panorma, an expansive piece with a Lento Introduction, a central Allegro which develops into a fugal section using the main theme, and a return to the theme of Los Mayos to finish. The Lento consists of beautiful, big chords producing full and rich ‘open’ harmonies which rise and crescendo before falling in triplets with a diminuendo that leads into the Allegro. Now the music moves more quickly alternating between a melody in triads and flowing semiquavers, building into the relative major and towards a brief introduction of the Los Mayos theme before falling towards the fugal section.

Here the main theme from this movement is developed with many entries and echoes in other voices, moving through keys and creating full textures and harmonies, starting low and rising to 2 octaves higher than the first statement before falling back again and finally merging into the final strong statement of the Los Mayos theme. It is all very exciting and finishes with a great ‘big dipper’ run of semiquavers and then 2 lovely, soft, staccato chords – real drama!

This is perfect music for the Classical Guitar – warm and Spanish in character, exciting and dramatic, using all the instrument has to offer and a reflection of a golden age for the guitar.

Play Piazzolla

Astor Piazzolla

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Play Piazzolla is a unique collection of 13 tangos by the Argentinian master of tango nuevo, arranged for easy solo guitar. The pieces have been skilfully arranged by Gary Ryan so that this wonderfully vibrant music can be easily enjoyed by younger guitar players.

Skill Level

Intermediate

This book is a fantastic addition to the guitar repertoire as it opens up the wonderfully vibrant music of Piazzolla to a much wider audience, encouraging a more rhythmical, yet "freer" style of playing and increasing the variety of musical styles available to all players.

Gary Ryan's arrangements are very skilful, in that no sacrifices in musical content are made for ease of playing.

The music immediately transports you into the world of Piazolla's Argentine tango with syncopated rhythms, drama, excitement and his distinctive harmonies.

The use of voicing is particularly effective and offers a real challenge to the player to be able to make the separate melodies sing along with each other!

I loved the walking bass in Overture (2) with the snatches of melody above giving a feel of the different instruments in the band. Ausencias and Mumiki require a lot of freedom and feel of improvisation and the syncopation between voices in Milonga is great fun.

I particularly like Milonga for Three, which has a bass rhythm to be maintained throughout, and contrasting textures, which go from dissonant and brooding to lighter chords and insistent driving rhythms.

There is so much to enjoy and to work with in this volume, developing important skills whilst enjoying some excellent music. I would say an essential book for all guitarists from grade 4 upwards.

Playford Fantasia

John Whitworth

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This imaginative and evocative piece is a continuous set of variations on the English dance tune Goddesses, and provides a rare opportunity at this level to play and experience a work of real substance. It has a distinctive English flavour.

Popular Songs for the Classical Guitar

John Zaradin

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These arrangements allow the classical guitar player to extend their repertoire and enjoy playing some 'evergreens' from Jazz and popular music. The pieces are graded in order of difficulty and there are fingerings and markings to serve as helpful guides. Whatever the standard the music is enjoyable.

Progressive Reading for Guitarists

Stephen Dodgson and Hector Quine

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Only recently sight reading on the guitar was described as a nightmare. The traditional way of learning to play the guitar is to start in first position then gradually work up the fretboard. This book dispenses with this method. To obtain the best from this material read the Preface and introduction where there is information on how best to use the book. I have found this to be the best book written for becoming at ease with the guitar fretboard.